antoniodeste

As an old music lover, I found myself a bit like in Rocky’s situation. But tonight I broke the delay (you'll understand... after 38 years): I bought it and took it home. Stay tuned for my impressions.

@squireisgod: I completely agree with you. Let's follow the saying "Non ti curar di loro, ma guarda e passa......".

Thanks to someone I know and despite my not-so-young age anymore (...) I listen to a little bit, but just a little bit. I willingly listen to Opeth even though they tear my ears apart. Sometimes I listen to Slipknot, and not much else. I'm more inclined towards forms of rock that are more "traditional" or have a 70s vibe. I like what's called prog; I love Porcupine Tree and all of Steven Wilson's projects. I like David Sylvian and have been following King Crimson for 35 years...I adore Joni Mitchell and I'm a hardcore supporter of Frank Zappa's complete works. I keep a close eye on those crazies, the Mars Volta... So, to get back to your question... no, I'm not an expert in metal, even though I see it as a "preparatory" genre for kids who love to feel power, energy, and the desire to break something... I love jazz a lot and much of the crossovers that rock, jazz, blues, Rhythm'n'blues, and electronic experimentation have generated in the last 30, 35 years. Currently, I've rekindled a passion for late beat/early psychedelia from the late 60s, but you know... being as whimsical as I am, I go through phases too... Anyway, musically I was "born" with opera and classical music. Then, I abandoned it around the age of 13. It was clearly a little too tight for me. At that point, I dove into Emerson, Lake & Palmer (it was 1974), Yes, Genesis, Jethro Tull, and all that "stuff." Well, now there’s a ton of music to listen to compared to those years, damn! Metal didn't even exist! There was either "hard rock" or, much later, "heavy metal." But at most, I listened to Deep Purple, Uriah Heep, or Humble Pie (who I think were really tough, Humble Pie). Then the 80s came. But I'll stop here...

Ah, by the way: news on posthumous materials?

.........well, I only discovered this review tonight, three years after its publication...... . Just tonight that (coincidence?) I held the CD in my hand (I had never seen it on CD) only to put it off for a future purchase. The review, ajeje, is truly beautiful and, as you can tell, written from the heart by someone who loves Buckley, and I can only be pleased about that. I loved him too (but I had forgotten..... how could I??!!) when I was 17, listening to everything he recorded (except "Sefronia" and "Greetings from L.A.", but I don't think those are must-haves....). Personally, I had some practical difficulties with "Lorca." In those years (the late '70s), vinyl albums had become a genuine rarity in Italy, and the sales figures, when one could manage to find them, were outrageous. We even went with some friends to "Dimar" in Rimini (many km. from here), a big store specialized to try to track it down. We found it (miracle!), but we had to give up. Although it wasn't extremely expensive, what they quoted us still seemed inequitable and beyond our poor means...... . A couple of years later (irony of fate), a friend sent us two copies from Florida for just a few dollars...... . However, I don’t consider "Lorca" the best of Tim. Personally, I prefer "Happy/Sad" and "Blue Afternoon," but, as usual, it’s a matter of taste. The important thing is that the spirit of this extraordinary artist continues to live among us..... and it seems to me that we’re there..... .

@ Squireisgod: so you don’t follow, or haven’t consistently followed, the evolution of jazz language over time. I mean from the "historical" to the contemporary. No problem, anyway Jarrett is always a good way to approach the modernity of the idiom. I’ve followed Jarrett for about thirty years now (NOT consistently and at varying intensities), but in recent years he’s become a bit tiresome for me, also because of all those airs or quirks he has. Plus, critics and the public have overly hyped him, frankly excessively, despite the undeniable class and refinement of his creations, reinterpretations, and/or performances. The current trio with Dejohnette and Gary Peacock, however, is worth at least two or three listens. It has absolutely extraordinary moments. There is also documentation on DVD if you feel like searching for it. It's called "Standards 1" (on one DVD) and "Standards 2" (another DVD). You’ll get, unless you’ve already seen them, a very clear idea of this "Power trio" on stage. I suppose it’s unnecessary to add that if you’ve never listened to "The Koeln Concert" (though it's too overrated) by Jarrett (ECM 70s), it’s, in my opinion, a rare gem. That said, the "Personal Mountains" you mentioned is also a great work. A different discussion is about Garbarek. I believe I’ve adored him from the first things I listened to in the second half of the 70s (especially "Witchi-tai-to"). Then, his evolution has led him to expressive heights that are, for me, truly remarkable, and his path intersected with that of Eberhard Weber. I adore him as well, and for me, he represents one of the highest peaks of European double bass playing for the past thirty years. (The other European is Dave Holland). If you allow me, I would suggest at least one title where the two worked together, as they often have. It’s called "I took up the Runes" and was released by ECM, I think in ‘90. There, you will also find Manu Katchè, the GREAT pianist Rainer Bruninghaus, and a very young Bugge Wesseltoft. Let me know what you think, bye.

....ah ajejebrazorf and green manalishi, let yourselves be heard!

Well, I'm really glad that after all this time someone took the trouble to spend a few lines on this work. I've read all the comments too (Hi Ajeje!) which seem mostly appropriate and/or curious. Pi-Airot: for me, you really wrote a classy review and it was as delightful to read it as it was to listen to the last days and nights. You also provided a wealth of details about the lineup (at this point you could have also written Renate Knaup's name in full... it’s too funny Kroetenschwanz!!) and about correct references. I, among those who don’t understand this or that, for example, don’t see how one can compare the Garden of the Pharaohs, which is essentially electronic/electric, to something like this that is primarily acoustic-inspired. And then I don’t understand why nobody mentions "Seligpreisung," where Conny Veit does some precious things with his little electric guitar (and Ficheslscher on drums), besides the fact that Fricke's inspiration is here, more than ever evident. "Letzte Tage" is a great record that I hold very dear, but it doesn’t touch the masterpiece and on this point, I disagree with Pi-Airot, to whom my heartfelt congratulations go for such a well-made recommendation and for the expertise.

......nice the "parer mio" repeated just a few words apart.......i'm getting older.....

@squireisgod: "No Mistery", in my opinion, is an album that promises a lot, in my opinion, and delivers little. It’s been a while since I listened to it, but even after the "repurchase" on CD (the vinyl had disappeared), for the sake of completeness, my opinion hasn’t changed. You know, Corea has always been one of those who loved things sharp, fast, nervous, alternating with solo piano episodes that are often contemplative in tone. ("Now he sings, now he sobs"). I’ve always associated him with Herbie Hancock for his roots in the Davis school and for his sometimes bold and technically complex directions. I haven’t followed him since the time of the Elektric Band because the policy of his label (GRP) seemed a bit syrupy, and the albums gradually emptied of interesting content, becoming more repetitive and predictable. I had the chance to see the band (Corea, Patitucci, Weckl, Gambale, and Marienthal) I believe in '92 or '93, and they were a great experience live. However, I prefer the indelible memory of the concerts of Weather Report (80, with Pastorius and Erskine, 85, with Hakim and Bailey, and 87, as Weather Update with Erskine and Steve Khan on guitar). As for the Mahavishnu Orchestra, which for me represents a sort of "myth" of 70s jazz-rock, I still believe that "The Inner Mounting Flame" and "Between Nothingness & Eternity" (live and unfortunately hindered by a questionable recording) are two of the cornerstones of the genre. John McLaughlin, in my opinion, has always been an absolute reference guitarist that one must reckon with (besides being one of my favorites, alongside Robert Fripp). I'm glad you're listening to this stuff. Twenty years ago, there were many more people interested in this hybrid... But do you also listen to jazz (the "real" stuff), or do you limit yourself to jazz-rock/fusion? Regards!